Josef Suk: Praga, Symphonic Poem, op. 26;
A Fairy Tale (“Pohadka”), op. 16, suite for orchestra
Nordwestdeutsche Philharmonie conducted by Alun Francis
[CPO 999 576-2]

Josef Suk (1874-1935), a Czech composer of quartets, piano music, and symphonic tone poems, was Antonin Dvorak's son-in-law and favorite student. Suk displayed an exquisite musical talent for texture, color and picturesque instrumentation. This lovely CPO release is inspired by the recent revival of his music.

Colorfully permeated with an intriguing sense of deja vue, “Praga” is a ravishing Impressionist vision of Prague’s Gothic and Romanesque beauty. Aside from a few horn passages reminiscent of Dvorak’s “New World” Symphony, Suk’s music is unique in its conception. Ethereal and rich with esoteric harmonies, the orchestration throughout is colorful and animated. There are movements of driving power, languidly cresting mellifluity, and profound reflection. Suk seasons his orchestration with a skillful use of percussion, adding spice and sonic thrust to an already multicolored score. The piece ends triumphantly with a sonorous finale scored for bells.

“Pohadka, A Fairy Tale” is the four-movement symphony Suk developed from his music for Julius Zeyer’s “Raduz and Mahlena.” Zeyer’s drama concerns the children of two feuding clans and their obstacle-ridden love. Suk’s musical treatment of classic fairy-tale themes (metamorphoses, curses, magic potions) is suffused with an engaging child-like sense of wonder. Suk’s lusciously silvery orchestration is enchantingly gossamer in “Love and Grief of the King’s Children”, a concertante for solo violin a la “Scherazade.” The dynamic rhythms of “Folk Dance” are imbued with a pastoral exuberance. “Funeral March” suggests little of death’s tragic finality. Rather it opens a mystical door to a euphoric and serene realm. The rich, exultant orchestration of “Queen Rena’s Curse and the Triumph of Love” joyously illustrates the happy ending of the piece.

Alun Francis and the Nordwestdeutsche Philharmonie are in total rapport with Suk’s musical vision. They execute this music with a vivacious authority and affectionate warmth. The orchestral playing is brilliant throughout. Though at times the strings are “fuzzed out” by the reverberant acoustic, the sound engineering is first-rate with zestful close miking, especially of cellos and brass. Notes are included. This is an enchanting release.

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